Pub Date : 2023-03-21DOI: 10.1177/00145858231161636
S. Zappoli
In his preface to The Social Philosophy of Giovanni Gentile, HS Harris wrote that “[Gentile's] association with Fascism, of which he was an ardent supporter from 1923 until his own death during the last throes of the Fascist Social Republic, prejudiced the issue. Critical evaluation of his political and social thought has been almost impossible for the Italians themselves because of the general climate of political opinion both before and after his death; and almost everyone outside Italy followed the lead given by Croce and dismissed Gentile's practical philosophy as unworthy of serious critical examination.” This statement undoubtedly points at an effective historiographical question. The present article aims to shed light on this issue, taking into consideration specifically the writings published about Gentile in the United States in the 1920s and 1930s. Some research has already been undertaken in this field, but it seems ripe for being further developed. Interest in the work of Gentile came especially from the intellectual circles of Columbia University and his work has usually been interpreted by historians as resulting from pro-fascist leanings. Yet, a closer examination of sources and consequently a more analytical reconstruction of the context suggests that the reception of the educational thought of Gentile and the knowledge of his political activity during the Fascist regime took place in the United States quite independently from political sympathies.
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Pub Date : 2023-03-21DOI: 10.1177/00145858231161638
M. Paniga
The aim of this article is to understand how the New York Times, one of the most important US newspapers, explained the events that set off the ascent of fascism to power in Italy. In particular, I will focus on the period between the march on Rome, after which Mussolini became Prime Minister, and 1925–1926, when a dictatorial turning point, a consolidated position not only in Italian historiography, was imposed on the country. In fact, the march on Rome revealed Mussolini for the first time to the American newspapers (he was previously an almost unknown political entity in the United States), before the infamous speech at the House of Deputies on June 3, 1925, following the assassination of Giacomo Matteotti and the fascistissime laws passed shortly after marked the end of freedom and democracy in Italy. How did the New York Times correspondents explain these events? I answer this question analyzing the most significant articles dedicated to the topic and focusing on the political and ideological stand of the newspaper and on the factors that led it to support the fascist regime at least until the late 1930s.
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Pub Date : 2023-02-01DOI: 10.1177/00145858221143694
Valentina Graziuso
Dando voce al lamento di una giovane donna obbligata dal padre a sposarsi contro la propria volontà, i celebri versi della Compiuta Donzella di Firenze portano alla luce alcune delle dinamiche oppressive e problematiche del mondo femminile, in un contesto socialmente e culturalmente dominato da uomini. Esplorando le ragioni che avrebbero indotto una giovane donna del Duecento a difendere il proprio diritto al consenso coniugale, si ipotizza che la stessa avrebbe avuto modo di conoscere l’esistenza della clausola matrimoniale con la quale il giurista bolognese Giovanni Graziano riconosceva l’importanza del consenso reciproco da parte dei coniugi come condizione essenziale alle nozze. Questo studio parte dall’idea che i versi della rimatrice fiorentina acquistano un grande valore se interpretati sulla base delle dinamiche politiche e sociali della sua epoca e in relazione agli altri componimenti del manoscritto, tralasciando la tanto discussa questione dell’identità biologica che si cela dietro il suo nome. Parole chiave: Compiuta Donzella di Firenze, consenso femminile, Decreto Graziano, matrimonio medievale, uguaglianza di genere.
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Pub Date : 2022-12-26DOI: 10.1177/00145858221143696
M. Marazzi
Single-handedly conceived and crafted by its creator, the hyper-active but relatively unknown Milan-based journalist Annibale Del Mare, the monthly Cronache d’Italia (1948–1963) was more than an eclectic bulletin of Italian news (with a special flair for entertainment, the arts, tourism, and local attractions). Supported by a discreet but consistent political backing, the magazine succeeded in weaving a veritable world wide web of Italian immigrant readers and Italophiles (well beyond the usual destinations of the Italian diaspora) – as witnessed by its gigantic epistolary archive, a treasure trove of the plights and expressive creativity of Italian immigrants worldwide.
《意大利Cronache》月刊(1948-1963)由其创始人、活跃但相对不为人知的米兰记者Annibale Del Mare一手策划和制作，它不仅仅是一份兼收并收的意大利新闻公报(特别擅长娱乐、艺术、旅游和当地景点)。在谨慎但一贯的政治支持下，该杂志成功地编织了一个名副其实的意大利移民读者和意大利爱好者的全球网络(远远超出了意大利侨民的通常目的地)——正如其庞大的书信档案所见证的那样，这是世界各地意大利移民的困境和富有表现力的创造力的宝库。
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Pub Date : 2022-12-09DOI: 10.1177/00145858221139415
Richard M. Tristano
Rossini is often historicized by placing him in the context of the Restoration period (1815–1848). This article uses a historical methodology to examine that assumption in order to propose new insights into Rossini, his music, and his place in Italian history, culture, and opera. Rossini's experience shows how one of the great cultural icons of the Ottocento navigated the vicissitudes of one of Italy's most tumultuous centuries. The history is in dialogue with musicological research, especially by analyzing what listeners heard in his music. His music evoked strong binaries, the opposition of German and Italian music, which is sometimes identified with teleological history, here the tendency to manipulate the musical past for some more present purpose, for example, forcing Rossini into a nationalist narrative. Noting its dangers, this study expands the context in terms of time, by considering Rossini's entire career subject to historical categories, not only the Restoration but also the Risorgimento, the French Second Empire, and especially the often-overlooked Bologna period, and Rossini's relationship to politics. It also enlarges the sources consulted to include some of his minor works, for example his Messa di Gloria (1820), Cantata in onore del Sommo Pontefice Pio Nono (1847), and Hymn à Napoleon III (1867). Finally, the study also examines how Rossini developed his own historical consciousness amid his alienation from both the 19th-century and Italian opera in particular.
罗西尼经常被置于复辟时期(1815-1848)的背景下而被历史化。本文使用历史方法论来检验这一假设，以便对罗西尼、他的音乐以及他在意大利历史、文化和歌剧中的地位提出新的见解。罗西尼的经历向我们展示了这位奥托桑托伟大的文化偶像是如何在意大利最动荡的一个世纪中度过沧桑的。历史是与音乐学研究的对话，特别是通过分析听众在他的音乐中听到的东西。他的音乐引发了强烈的二元对立，德国和意大利音乐的对立，有时被认为是目的论的历史，这里的倾向是为了一些更现实的目的而操纵音乐的过去，例如，迫使罗西尼进入民族主义叙事。注意到其危险性，本研究从时间角度扩展了背景，将罗西尼的整个职业生涯纳入历史范畴，不仅包括复辟时期，还包括复兴时期，法国第二帝国，尤其是经常被忽视的博洛尼亚时期，以及罗西尼与政治的关系。它还扩大了参考的来源，包括他的一些次要作品，例如他的Messa di Gloria (1820)， Cantata in onore del Sommo Pontefice Pio Nono(1847)和Hymn Napoleon III(1867)。最后，本研究还考察了罗西尼是如何在与19世纪尤其是意大利歌剧的疏远中形成自己的历史意识的。
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Pub Date : 2022-11-10DOI: 10.1177/00145858221136213
A. Castelli
When Oscar Wilde defiantly observed that life is imitation of art, literary criticism had found another role to the complicated relationship between literature and reality. The issue is most central in Cesare Pavese and Sylvia Plath, for their lives seemed to re-enact what their fictional characters in, respectively, Among Women Only and The Bell Jar, had attempted. The conscious manipulation of novelistic material into physical and mental events appears to prove correct Wilde's statement about the power of imitation. However, apart from the work of scholars who wrote on Pavese and Plath as an isolated case, the theory of life as imitation of art was never used to define the authors’ intention. Therefore, further theorization is necessary.
{"title":"When life imitates art","authors":"A. Castelli","doi":"10.1177/00145858221136213","DOIUrl":"https://doi.org/10.1177/00145858221136213","url":null,"abstract":"When Oscar Wilde defiantly observed that life is imitation of art, literary criticism had found another role to the complicated relationship between literature and reality. The issue is most central in Cesare Pavese and Sylvia Plath, for their lives seemed to re-enact what their fictional characters in, respectively, Among Women Only and The Bell Jar, had attempted. The conscious manipulation of novelistic material into physical and mental events appears to prove correct Wilde's statement about the power of imitation. However, apart from the work of scholars who wrote on Pavese and Plath as an isolated case, the theory of life as imitation of art was never used to define the authors’ intention. Therefore, further theorization is necessary.","PeriodicalId":12355,"journal":{"name":"Forum Italicum","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47408148","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-10DOI: 10.1177/00145858221135653
F. Golia
Questo articolo intende esplorare la dimensione del sacro nell’ambito della produzione teatrale di Enrico Pea, colmando, in tal modo, una lacuna negli studi dedicati all'autore toscano. Tale tema sarà affrontato attraverso il prisma della rappresentazione di Gesù Cristo, conferendo un rilievo particolare alla dimensione dello scandalo, al fine di far emergere la presenza di una duplice dialettica: tra conoscenza e immaginazione, tra dogma della fede e libertà della favola. This article aims to explore the dimension of the sacred within the theatrical production of Enrico Pea, fulfilling, as a result, a lacuna in the studies dedicated to the Tuscan author. This theme will be approached through the prism of the representation of Jesus Christ, with special emphasis on the dimension of scandal, in order to bring out the presence of a dual dialectic: between knowledge and imagination, between the dogma of faith and the freedom of fable.
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Pub Date : 2022-11-01DOI: 10.1177/00145858221110514
S. Zawacki
logie coessenziali (alienazione e classismo), sfruttamento reificante e disumanizzazione dell’uomo e, infine, l’omologazione di tutti i popoli, neutralizzati nella loro identità e inclusi nel nuovo ordine mentale del relativismo consumista e del liberismo cosmopolita politicamente corretto ed eticamente corrotto” (Fusaro, 2017: 17). Il concetto dell’essere umano che Catalfamo elabora ne La rivolta dei demoni ballerini, particolarmente per quanto riguarda l’impatto del capitalismo, della globalizzazione, e della società digitalizzata sull’essere umano concorda con l’analisi filosofica che Fusaro presenta nel sopra citato libro. Catalfamo, come Fusaro, vede nell’arrivo del globalismo e della rivoluzione informatica l’inevitabile omologazione di tutti gli essere umani. “In particolare sulle giovani generazioni [si riverberano] gli effetti distruttivi di questo sistema rinnovato, che riesce a sbriciolare addirittura la personalità individuale, cancellando il concetto stesso di ‘individuo’” (Wafaa A. Raoud El Beih, Prefazione, p. 20). La rivolta dei demoni ballerini è un’opera che contrappone il mondo antico al moderno, il mito alla realtà, il comunismo al fascismo, la giustizia alla corruzione, gli oppressi agli oppressori, ma la rivolta fondamentale, quella che dà il titolo al libro, è la rivolta dei contadini contro il feudalismo. In ogni caso, la lotta del poeta non è solo politica, essa continua, come asserisce Wafaa A. Raouf El Beih nella prefazione, citando Irena Prosenc Šegula, docente universitaria che si è occupata anche lei delle poesie di Catalfamo: la lotta continua “contro la contraffazione dei sentimenti a cui ha dato vita l’avvento della società capitalistica matura e consumistica, nella quale s’impone anche il ‘fast food’ sentimentale” (Prefazione, p. 14). Terminata la lettura, il lettore si rende conto che l’obiettivo del poeta non è solo politico, ma che si protrae alla ricerca di valori umani più autentici, di relazioni più ruspanti, più dignitose, relazioni ormai perdute, ma forse ancora presenti nella semplicità dei rapporti tra contadini. La rivolta dei demoni ballerini, nella sua semplicità di stile e di contenuto, attinge ad argomenti di profondo valore filosofico e umano.
本质论（异化和阶级主义），具体化对人的剥削和非人化，最后，所有民族的认同，在他们的身份中被中和，并被纳入消费主义相对主义和世界主义自由主义的新精神秩序中——政治上正确，道德上腐败”（Fusaro，2017:17）。卡塔法莫在《舞妖起义》中阐述的人的概念，特别是关于资本主义、全球化和数字化社会对人的影响，与福萨罗在上述书中提出的哲学分析一致。Catalfamo和Fusaro一样，在全球主义和计算机革命的到来中看到了所有人类不可避免的同源性。“特别是，这种更新的制度对年轻一代的破坏性影响[产生了反响]，甚至使个人人格崩溃，抹去了‘个人’的概念”（Wafaa A.Raoud El Beih，序言，第20页）。《舞魔的反抗》是一部反对古代世界与现代、神话与现实、共产主义与法西斯主义、正义与腐败、被压迫者与压迫者的作品，但最根本的反抗，也就是这本书的标题，是农民反抗封建主义。无论如何，正如Wafaa A.Raouf El Beih在序言中引用Irena ProseccŠegula所说，诗人的斗争不仅是政治性的，而且还在继续，大学讲师，也处理了卡塔法莫的诗歌：斗争仍在继续，“反对伪造情绪，这种情绪导致了成熟的消费主义资本主义社会的出现，在这个社会中，感性的‘快餐’也被强加了”（序言，第14页）。在阅读的最后，读者意识到诗人的目的不仅是政治，而且他继续寻找更真实的人类价值观，更自由的范围，更有尊严的关系，现在已经失去的关系，但可能仍然存在于农民之间的简单关系中。舞蹈恶魔的反抗，在其简单的风格和内容，借鉴了深刻的哲学和人类价值的主题。
{"title":"Book review: Enrica Maria Ferrara (ed.), Posthumanism in Italian Literature and Film: Boundaries and Identity","authors":"S. Zawacki","doi":"10.1177/00145858221110514","DOIUrl":"https://doi.org/10.1177/00145858221110514","url":null,"abstract":"logie coessenziali (alienazione e classismo), sfruttamento reificante e disumanizzazione dell’uomo e, infine, l’omologazione di tutti i popoli, neutralizzati nella loro identità e inclusi nel nuovo ordine mentale del relativismo consumista e del liberismo cosmopolita politicamente corretto ed eticamente corrotto” (Fusaro, 2017: 17). Il concetto dell’essere umano che Catalfamo elabora ne La rivolta dei demoni ballerini, particolarmente per quanto riguarda l’impatto del capitalismo, della globalizzazione, e della società digitalizzata sull’essere umano concorda con l’analisi filosofica che Fusaro presenta nel sopra citato libro. Catalfamo, come Fusaro, vede nell’arrivo del globalismo e della rivoluzione informatica l’inevitabile omologazione di tutti gli essere umani. “In particolare sulle giovani generazioni [si riverberano] gli effetti distruttivi di questo sistema rinnovato, che riesce a sbriciolare addirittura la personalità individuale, cancellando il concetto stesso di ‘individuo’” (Wafaa A. Raoud El Beih, Prefazione, p. 20). La rivolta dei demoni ballerini è un’opera che contrappone il mondo antico al moderno, il mito alla realtà, il comunismo al fascismo, la giustizia alla corruzione, gli oppressi agli oppressori, ma la rivolta fondamentale, quella che dà il titolo al libro, è la rivolta dei contadini contro il feudalismo. In ogni caso, la lotta del poeta non è solo politica, essa continua, come asserisce Wafaa A. Raouf El Beih nella prefazione, citando Irena Prosenc Šegula, docente universitaria che si è occupata anche lei delle poesie di Catalfamo: la lotta continua “contro la contraffazione dei sentimenti a cui ha dato vita l’avvento della società capitalistica matura e consumistica, nella quale s’impone anche il ‘fast food’ sentimentale” (Prefazione, p. 14). Terminata la lettura, il lettore si rende conto che l’obiettivo del poeta non è solo politico, ma che si protrae alla ricerca di valori umani più autentici, di relazioni più ruspanti, più dignitose, relazioni ormai perdute, ma forse ancora presenti nella semplicità dei rapporti tra contadini. La rivolta dei demoni ballerini, nella sua semplicità di stile e di contenuto, attinge ad argomenti di profondo valore filosofico e umano.","PeriodicalId":12355,"journal":{"name":"Forum Italicum","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47005931","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-11-01DOI: 10.1177/00145858221111808
Iuri Moscardi
{"title":"Book review: Daniela D’Eugenio, Alberto Gelmi e Dario Marcucci (a cura di), Italia, Italie. Studi in onore di Hermann W. Haller","authors":"Iuri Moscardi","doi":"10.1177/00145858221111808","DOIUrl":"https://doi.org/10.1177/00145858221111808","url":null,"abstract":"","PeriodicalId":12355,"journal":{"name":"Forum Italicum","volume":null,"pages":null},"PeriodicalIF":0.1,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90727293","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":4,"RegionCategory":"文学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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